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soldJul. 01, 2023Gary Komarin, New York, Connecticut (b. 1951), abstract head portrait, 1997, acrylic on paper, 22 1/2"H x 17"W
Est: $400 - $600Gary Komarin New York, Connecticut, (b. 1951) abstract head portrait, 1997 acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019
Ripley Auctions
soldJul. 01, 2023Gary Komarin, New York, Connecticut (b. 1951, abstract still life, 1997, acrylic on paper, 22 1/2”H x 17”W
Est: $400 - $600Gary Komarin New York, Connecticut, (b. 1951 abstract still life, 1997 acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019
Ripley Auctions
soldJul. 01, 2023Gary Komarin, New York, Connecticut (b. 1951), abstract in yellow, 1997, acrylic on paper, 17”H x 22”W
Est: $400 - $600Gary Komarin New York, Connecticut, (b. 1951) abstract in yellow, 1997 acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019
Ripley Auctions
soldMay. 25, 2023GARY KOMARIN - UNTITLED (VESSEL ON YELLOW)
Est: $700 - $1,000Lot 150 Gary Komarin American (b. 1951) Untitled (Vessel on Yellow) (1999) oil on paper signed lower left 29 1/2 x 22 inches frame dimensions: 32 1/2 x 24 3/4 x 2 inches, white wood frame with acrylic glazing Provenance: From a Private Collection
Capsule Gallery Auction
soldApr. 29, 2023Gary Komarin, New York, Connecticut (b. 1951), abstract with green outline, acrylic on paper, 30”H x 22”W
Est: $500 - $700Gary Komarin New York, Connecticut, (b. 1951) abstract with green outline acrylic on paper Signed lower left. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019
Ripley Auctions
soldApr. 29, 2023Gary Komarin, New York, Connecticut (b. 1951), Vessel, acrylic on paper, 22”H x 30”W
Est: $500 - $700Gary Komarin New York, Connecticut, (b. 1951) Vessel acrylic on paper Signed lower left. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019
Ripley Auctions
soldApr. 29, 2023Gary Komarin, New York, Connecticut (b. 1951), abstract in purple, 1997, acrylic on paper, 17”H x 22 1/2”W
Est: $400 - $600Gary Komarin New York, Connecticut, (b. 1951) abstract in purple, 1997 acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019
Ripley Auctions
soldApr. 29, 2023Gary Komarin, New York, Connecticut (b. 1951), abstract portrait, 1997, acrylic on paper, 22”H x 17”W
Est: $500 - $700Gary Komarin New York, Connecticut, (b. 1951) abstract portrait, 1997 acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019
Ripley Auctions
soldOct. 12, 2022Gary Komarin, American b.1951 - Vessel/Sky, 2003;
Est: £400 - £600Gary Komarin, American b.1951 - Vessel/Sky, 2003; acrylic on paper, signed and dated top edge, 'Komarin 2003', 76 x 56 cm Please refer to department for condition report
Roseberys
soldDec. 04, 2021Gary Komarin Untitled Abstract encaustic painting
Est: $400 - $800Komarin, Gary (American, born 1951), Untitled, 2000, (GT/GK 05-00w6), encaustic painting on paper, Dimensions: 30 x 22 inches unframed, Signature: signed lower left Komarin, Provenance: Garner Tullis Workshop, unframed.
Concept Art Gallery
soldJul. 29, 2021Gary Komarin American, b. 1951 Ocho Rios, 1986
Est: $1,000 - $1,500Gary Komarin American, b. 1951 Ocho Rios, 1986 Signed and dated Komarin 1986 (ur) Oil on paper 38 x 50 inches Provenance: Maxwell Davidson Gallery, New York C
Doyle New York
soldJun. 27, 2020Gary Komarin Untitled Abstract encaustic painting
Est: $400 - $800Komarin, Gary (American, born 1951), Untitled, 2000, encaustic painting on paper, Dimensions: 30 x 22 inches unframed, Signature: signed lower left Komarin, Provenance: Garner Tullis,
Concept Art Gallery
soldJan. 30, 2020Gary Komarin Mixed Media Framed Painting
Est: $400 - $800Frame 21.25 x 17.25 image sight 4.75 x 4 1/8"
Applebrook Auctions
soldJan. 30, 2020Gary Komarin Mixed Media Framed Painting
Est: $400 - $800Frame 21.25 x 17.25 image sight 5.5 x 4
Applebrook Auctions
soldJan. 30, 2020Gary Komarin Mixed Media Framed Painting
Est: $400 - $800Frame 21.25 x 17.25 image sight 5.75 x 3 5/8
Applebrook Auctions
soldDec. 08, 2019Gary Komarin (b. 1951), Birthday Cake, 2003, Mixed media on paper, 51 x 23.5"
Est: $300 - $600Gary Komarin (b. 1951), Birthday Cake, 2003, mixed media on paper, 51 x 23.5", frame: 54.5 x 27.25" Provenance: the Estate of Nancye Miller A master of Post-Painterly Abstraction, Gary Komarin has been at the forefront of contemporary art with a bold and colorful style recognized by art collectors worldwide, and applauded by museum curators and art critics alike. While looking at Komarinâs paintings and his works on paper, the viewer is invited to the intimate space where a dialogue is established between painter and painting. Post-painterly abstraction is a style that favors openness, risk taking, and clarity, as opposed to the dense painterly surfaces that are apparent in abstract expressionism. However, the definition of post painterly abstraction is limited in conveying the very wide range of activities that its artists pursue. My paintings proceed without preconception. I paint to find out what it is that I am going to paint. I think of myself as a stagehand who sets up the conditions necessary for drama to unfold. The very best paintings are most often those that fail the most. Once a painting has achieved a life of its own, when it speaks back to you as a painter, this is a good place to be. For me, the best paintings are those that paint themselves.
Vogt Galleries Texas
soldDec. 07, 2019Gary Komarin Untitled encaustic painting
Est: $400 - $800Komarin, Gary (20th Century American), Untitled Form, circa 2000, Medium: encaustic painting on paper, Dimensions: 30 x 22 inches, Signature: signed lower left Komarin, Provenance: Gardiner Tullis,
Concept Art Gallery
soldJan. 03, 2016Gary Komarin, Mixed Media Interior Scene, 1988
Est: $500 - $700Gary Komarin (American, born 1951- ), "Interior Scene"-1988, mixed media on paper, signed and dated in black lower right. Large modern horizontally aligned artwork depicting a brightly colored interior with blue table at center with bowl of ruit (apples and pear), purple tapered bottle form vase, green footed stand and blue and white striped textile, red wooden chair beside table against a lime to chartreuse green wall with pink repeating floral pattern. Framed approximately 46.25" x 59.75". Sight size of sheet floating within frame approximately 35.5" x 49.75". Provenance: Property from the Private Collection of Helen Ballard, Atlanta, Georgia.
Ahlers & Ogletree Inc.
soldDec. 16, 2015Gary Komarin, American (B
Est: $600 - $800Gary Komarin, American (B. 1951), The Writing Table, 1988, oil on canvas, signed lower left, framed. 60 x 96 inches.
Link Auction Galleries
soldOct. 21, 2015Gary Komarin, Collage Series XII, Acrylic and Collage
Est: $1,800 - $2,500Artist: Gary Komarin, American (1951 - ) Title: Collage Series XII Year: 1979 Medium: Acrylic and Collage on Paper, signed and dated Size: 15 in. x 17 in. (38.1 cm x 43.18 cm) Frame Size: 21.5 x 23 inches
RoGallery
soldMay. 15, 2014Gary Komarin, Collage Series XII, Acrylic and Collage Painting
Est: $2,000 - $2,500Artist: Gary Komarin, American (1951 - ) II Title: Collage Series XII II Year: 1979 II Medium: Acrylic and Collage on Paper, signed and dated II Size: 15 in. x 17 in. (38.1 cm x 43.18 cm) II Frame Size: 21.5 x 23 inches
RoGallery
soldJan. 26, 2012Gary Komarin, Collage Series XII, Acrylic and Collage
Est: $2,000 - $2,500Artist: Gary Komarin, American (1951 - ) - Title: Collage Series XII - Year: 1979 - Medium: Acrylic and Collage on Paper, signed and dated - Size: 15 in. x 17 in. (38.1 cm x 43.18 cm) - Frame Size: 21.5 x 23 inches
RoGallery
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